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Subject to reality : women and documentary film /

Revolutionary thinking around gender and race merged with new film technologies to user in a wave of women's documentaries in the 1970s. Driven by the various promises of second-wave feminism, activist filmmakers believed authentic stories about women would bring more people into an imminent re...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Warren, Shilyh J., 1974- (Autor)
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Urbana : University of Illinois Press, [2019]
Colección:Women and film history international.
Temas:
Acceso en línea:Texto completo

MARC

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100 1 |a Warren, Shilyh J.,  |d 1974-  |e author. 
245 1 0 |a Subject to reality :  |b women and documentary film /  |c Shilyh Warren. 
264 1 |a Urbana :  |b University of Illinois Press,  |c [2019] 
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490 1 |a Women and film history international 
504 |a Includes bibliographical references and index. 
505 0 |a Introduction: two real moments -- Filming among others: Frances Flaherty and Osa Johnson -- Anthropological visions inside and out: Zora Neale Hurston and Margaret Mead -- Strangely familiar: autoethnography and whiteness in personal documentaries -- Native ethnographers and feminist solidarity -- Conclusion: when the walls come down. 
588 0 |a Online resource; title from digital title page (viewed on June 03, 2019). 
520 |a Revolutionary thinking around gender and race merged with new film technologies to user in a wave of women's documentaries in the 1970s. Driven by the various promises of second-wave feminism, activist filmmakers believed authentic stories about women would bring more people into an imminent revolution. Yet their films soon faded into obscurity. Shilyh Warren reopens this understudied period and links it to a neglected era of women's filmmaking that took place from 1920 to 1940, another key period of thinking around documentary, race, and gender. Drawing women's cultural expression during these two explosive times into conversation, Warren reconsiders key debates about subjectivity, feminism, realism, and documentary and their lasting epistemological and material consequences for film and feminist studies. She also excavates the lost ethnographic history of women's documentary filmmaking in the earlier era and explores the political and aesthetic legacy off these films in more explicitly feminist periods like the Seventies. Filled with challenging insights and new close readings, Subject to Reality sheds light on a profound and unexamined history of feminist documentaries, while revealing their influence on the filmmakers of today. 
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650 0 |a Documentary films  |z United States  |x History  |y 20th century. 
650 0 |a Women motion picture producers and directors  |z United States. 
650 0 |a Feminism and motion pictures. 
650 0 |a Motion pictures and women. 
650 6 |a Productrices et réalisatrices de cinéma  |z États-Unis. 
650 6 |a Féminisme et cinéma. 
650 6 |a Cinéma et femmes. 
650 6 |a Documentaires  |z États-Unis  |x Histoire  |y 20e siècle. 
650 7 |a LANGUAGE ARTS & DISCIPLINES  |x Journalism.  |2 bisacsh 
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650 7 |a Motion pictures and women  |2 fast 
650 7 |a Women motion picture producers and directors  |2 fast 
651 7 |a United States  |2 fast 
648 7 |a 1900-1999  |2 fast 
655 7 |a History  |2 fast 
776 0 8 |i Print version:  |a Warren, Shilyh J., 1974-  |t Subject to reality.  |d Urbana : University of Illinois Press, 2019  |z 9780252042539  |w (DLC) 2018049780  |w (OCoLC)1057376482 
830 0 |a Women and film history international. 
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